Alessandro Perin - Organ Music 1 - COMPACT DISCS [CD]

Eliodoro Sollima (1926-2000) was a Sicilian musician raised in the town of Marsala, where the concert hall is dedicated to his memory. From 1954 to 1991 he taught composition at the conservatoire in Palermo, where he was also the institution's director for 16 years. This is the only album dedicated to his music new recordings made by a young contemporary music ensemble, who are joined by the composer's son, Giovanni Sollima, a cellist and composer in his own right who has made several previous albums for Brilliant Classics. Sollima studied piano with Arturo Benedetti Michelangeli, and he wrote for his instrument with a thorough grasp of it's range as a Romantic instrument - Italian TV broadcasts preserve some unfussily accomplished performances of Liszt - which courses through his best-known piece, the Toccata of 1951. However, his idiom embraced a Bartokian toughness of rhythm, most vividly demonstrated here by the three movements for piano trio (for which Sollima received compliments from Isaac Stern). In 1968 he wrote a powerful concerto for string orchestra in memory of Bobby Kennedy, and the tortured harmonies of this piece carry over into both the contemporaneous piano trio and the later 'Evoluziona No.5' for violin and piano. However, the album surveys the full range of Sollima's oeuvre, from the brief and touching Aria he composed for a chamber quintet as a 19-year-old, to a compact Cello Sonata written at the age of 22 in 1948. From almost half a century later dates the 'Legend of St Damiano', a single-movement piano quartet that effectively synthesizes the evolution of the composer's music. Luciano Tarantino recorded Giovanni Sollima's own music on a 'Cello Solo Journey' released in 2019 by Brilliant Classics (95964). His own playing can also be enjoyed on a 2014 album of Offenbach's cello duets (94475). Album Tracks 1. Sonata for cello and piano~I. L

The composer we know as Annibale Padovano was named after his native city of Padua, but in 1552 he became organist at St Mark's Venice while the Dutch composer Adrian Willaert was master of music there. Padovano probably joined Willaert's group of pupils, and he would have encountered the likes of Andrea Gabrieli and Cipriano de Rore. Nonetheless, his reputation rests on the slender book of organ music published in 1604, which reveals him as a master contrapuntalist of his age in the Ricercars, and no less innovative or inventive in his use of the Toccata form, clearly Venetian in spirit yet individual in expression. Vincenzo Pellegrini was born in Pesaro around 1562. Following his studies at the seminary, he became a canon regular of the cathedral in 1589 and appears to have been a popular teacher as well as a composer of church music. His work for organ likely dates from the end of his life, when he had become a canon in Milan Cathedral where there was a stronger tradition of instrumental composition. The Canzoni that have come down to us betray an evident debt to the French chanson tradition simpler in form than Pellegrini, their melodic freshness and charm offers more than ample compensation in works such as 'La Serpentina' which has become a popular work of the period in it's own right. This is Luca Scandali's sixth album for Brilliant Classics, after imaginative collections of repertoire such as 'Balli, battaglie e canzoni' and 17th-century Italian organ music by Galuppi and Pasquini. For this album he has selected the historically significant organ in the Basilica of Santa Barbara in Mantova, which is tuned to the mean-tone temperament used in the era of Padovano and Pellegrini Album Tracks 1. Toccata Del Ottavo Tono 2. Ricercar Del Sesto Tono Alla Terza 3. Canzone Detta la Berenice 4. Canzon Detta la Nora 5. Canzon Detta la Cassiodora 6. Canzo

Johann Schneider was a German organist, violinist and composer (1702, Lautertal-1788, Leipzig). He was a pupil of Nicolas Mueller in his hometown and continued his studies with Johann Hartmann Reinmann in Saalfeld between 1717 and 1720. Around 1720, he became Johann Sebastian Bach's organ and harpsichord pupil in Köthen. In conjunction with his keyboard work with Bach, he studied violin with Johann Gottlieb Graun in Merseburg and with Johann Graf in Rudolstadt. In 1721, Johann Schneider became court organist and first violinist (concertmaster) in Saalfeld in his native Coburg. From 1726 he was employed as violinist in the court chapel in Weimar (Weimarer Hofkapelle), and he was later appointed organist of the Nicolaikirche in Leipzig in 1729, holding this position for the rest of his career. Schneider achieved a commendable reputation as a truly great organist, as Lorenz Mizler quotes 'His organ preludes are of such good taste in this field, with the exception of Mr. Bach, whose pupil he was, that one cannot hear better in Leipzig'. A small number of his works are contained in the manuscript Mus. Ms. 30377, preserved in the Berlin State Library. His style shows a correlation with that of J.S. Bach, but the influence of the Galant style is also detected in various moments of his music. Johann Philipp Kirnberger was born in Saalfeld in 1721 and died in Berlin in 1783. He received his first training in harpsichord and violin within his family and then continued his studies with the organist Johann Peter Kellner in Gräfenroda. In 1738, he was an organ pupil under Heinrich Nikolaus Gerber in Sondershausen, then pursued further studies with Johann Sebastian Bach in Leipzig between 1739 and 1741, which proved pivotal to his development. More than a composer, he is remembered as a 'witness' to Bach's work he took charge of copying much of his master's music. He kept the man